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Third Teaser Clip Posted for New Neurosis Album

Posted in Bootleg Theater on August 6th, 2012 by JJ Koczan

Apparently diligent YouTuber NeurotRecordings has posted a third promo clip for the still untitled new Neurosis album. If you missed it, two prior clips came out last week and were posted here on Friday. Presumably they’re titled “Electrical Transmission” because “vague new album teaser video” was both cumbersome and crass. Neurosis keep it classy.

Anyone else but me also notice how these clips seem to be getting progressively clearer as they go on? You can see people playing instruments in this one. Maybe eventually one will come that’s just completely lucid and it’ll be like we all woke up from a dream and there was brand new Neurosis — which, I can only assume, is how I’ll probably feel when I finally get to hear the album in its finished form.

Dig it and let our anticipations seethe together in nerdly excitement:

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Ufomammut Unveil Album Art, Teaser and Tracklisting for Oro – Opus Alter

Posted in Whathaveyou on August 6th, 2012 by JJ Koczan

One of the most anticipated records still to come before the end of 2012, the second installment of Ufomammut’s Oro – Opus Alter is beginning to take shape. Check out the cover art for the album and PR wire info below:

Ufomammut unleash second teaser, reveal artwork, tracklisting and announce more tour dates in support of ORO: Opus Alter

Having previously announcing the arrival of the second installment of ORO – Opus Alter, which is to be released on 17 September on Neurot Recordings, we can now proudly unveil the delectable cover art for this next chapter brought to you once again by the unstoppable force that is the Malleus art collective…

We can also reveal the full tracklisting for this release which is as follows:

1. Oroborus
2. Luxon
3. Sulphurdew
4. Sublime
5. Deityrant

As with all previous Ufomammut albums, the concepts behind ORO are expansive and multi-faceted, mutating the Italian palindrome which translates to “gold” with the Latin translation of “I prey.” ORO explores the concept of knowledge and its power; the magical stream controlled by the human mind to gain control of every single particle of the world surrounding us. ORO is the alchemical process to transform the human fears into pure essence; into Gold. Although ORO‘s two chapters will be released months apart from each other, they must be considered as a single track in which the musical themes and the sounds appear and reappear, mutate and evolve, progressively culminating in the crushing final movement. ORO is an alchemic laboratory in which substances are flowing, dividing and blending themselves in ten increments from the alembics and stills, culminating into the creation of Gold.

Opus Alter is going to fulfill and widen the perspective of the new work of Ufomammut. Starting where Opus Primum ended, Opus Alter evolves deeper into devastatingly powerful new territory, where chaos is metamorphosed by cacophonous sound, until the final notes resonate, knowledge is forged and Ufomammut strike gold.

Stay tuned for more details regarding the release and tour are announced. Meanwhile check out the following confirmed dates so far:

AUGUST
13. ITA . Musica W Festival – Castellina Marittima (PI)SEPTEMBER
01. ITA . Rock in Riot Festival – Martinengo (BG)OCTOBER
04. D – Leipzig, UT Connewitz
05. D – Berlin, Bi Nuu – TBC
06.  SWE – Malmo – Krank
09. FI – Turku , Klubi
10. FI – Tampere, Klubi
11. FI – Helsinki, Kuudes Linja
13. NOR – Oslo, Betong
15. D – Kiel, Alte Meierei
16. D – Koln, Underground – TBC
17. NL – Tilburg, 013
18. B – Kortrijk, De Kreun
19. NL – Utrecht, Ekko
21. UK – Birmingham, Supersonic Festival
23. F – Paris, Glazart – TBC
24. F – Poitiers, Le Comforte Moderne
25. F – Bordeaux, Heretic club – TBC
27. P – Porto -Amplifest  (Hard Club)
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Frydee Neurosis

Posted in Bootleg Theater on August 3rd, 2012 by JJ Koczan


I wasn’t sure about these two clips above. Earlier this week, I saw the first one embedded somewhere and it being listed as new Neurosis I just thought seemed a little too vague to be true. No song title, no release date announced, nothing really to solidify it. Today a second clip came out, and as the YouTube user putting it up is NeurotRecordings, I guess I thought it was interesting enough either way. Seems a long way to go for a hoax, and in any case, the guitar in the second clip sounds pretty badass.

Before I say anything else, this:

There will be a new podcast this weekend.

It’s been a while, I know. With all the track/album streams I’ve been doing, and the playlist that Jon Davis from Conan curated, I guess I didn’t want to take away from that — also having no time was probably part of it — but things have settled down a little bit, and while I don’t know about next weekend, at least this one I’ll have time to put something together. Should be pretty good.

Tomorrow I’m also going to look at a small house to rent. Unlike the last one I don’t think this one’s in a flood zone, but you never quite know until you get there and you see the cheaply redone kitchen and the freshly painted walls. Also the river’s usually a solid tell, but sometimes it’s just water out of nowhere. Like it falls from the sky or something.

We’ll see how that goes, and I’ll get that podcast brewing, so I guess I’m not really signing off for the weekend, but just letting you know what was up. This week I had two five-post days, and that’s the first time I can remember that happening in a while. There wasn’t an interview posted, but I’ve been working news back onto the blog side as well as keeping it still on the forum, and I like that. The secret is I’m being less anal about things like formatting tour dates and bolding album titles and stuff like that. You’d be amazed how much time it can take to take band names out of all-caps and change the days to some arbitrary format I decided on the second week after I put the site up that nobody but me cares about. Sometimes it takes me a while to figure these things out. Three and a half years is a while.

Next week, aside from the aforementioned podcast, I’ll have reviews of Telestrion, Corsair and Om. I was thinking maybe I’d do another reviewsplosion, but we’ll see if I have time. Tuesday I’m slated to interview Scott Kelly and I hope before the week is out to get on the horn with Samothrace as well. Monday, with the acknowledgement that the album’s been out in Europe forever already, I’ll be hosting a stream of the opening track from the new Swallow the Sun album, just to feature it, and there may be a few more surprises to come. Should be good times.

As always, I hope you have a great and safe weekend. I’ll be checking back in probably Sunday with that podcast post, and I’ll be on spambot patrol on the forum as well. Hope to see you there and back here shortly.

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Scott Kelly and the Road Home, The Forgiven Ghost in Me: Burning through the Night

Posted in Reviews on July 26th, 2012 by JJ Koczan

The idea of putting The Forgiven Ghost in Me, the new mostly-solo outing from Scott Kelly, in any kind of proper context is ludicrous. It’s like trying to cover a mountain with a tarp. For the better part of 30 years, Kelly has stood alongside fellow guitarist/vocalist Steve Von Till at the fore of Neurosis’ explorations and so has become one of the most influential figures of his generation in underground heavy. In 2001, Kelly released his first solo album, Spirit Bound Flesh, on which he began to incorporate the elements of country and dark Americana and also to refine his gravely, exhausted vocal approach that, while still closely related to his contributions to Neurosis, was on songs like “The Passage” more melodic and given an entirely new perspective. Joining forces with Neurosis keyboardist Noah Landis and others in Blood and Time, Kelly helmed the songwriting for 2004’s At the Foot of the Garden (Blood and Time would also release a Latitudes session in 2007 with a lineup that included Kelly, Landis and A Storm of Light’s Josh Graham and Vinnie Signorelli), and the track “Remember Me” from that album also showed up on his next solo outing, 2008’s The Wake. In the time since Spirit Bound Flesh, in addition to the Blood and Time outings, Kelly had released four albums with Neurosis – 2001’s A Sun that Never Sets arrived almost concurrently, 2003’s collaboration with Jarboe, 2004’s The Eye of Every Storm and 2007’s Given to the Rising – as well as begun the preliminaries for what would result in the 2009 self-titled debut from the supergroup Shrinebuilder, in which Kelly is joined by luminaries Al Cisneros (Sleep), Scott “Wino” Weinrich (Saint Vitus, The Obsessed, etc.), and Dale Crover (the Melvins). It wasn’t necessarily much of a surprise that The Wake found Kelly more developed and clearer-headed about what he wanted his solo aesthetic to be – he’d certainly had time to think about it doing everything else.

But still, The Wake was surprisingly cohesive. One can get a sense of where Kelly was headed with it listening in hindsight to Blood and Time’s Latitudes session, on which both Townes van Zandt and Roky Erickson were covered, but still, for many, it was blindsiding, and in no small part I mark it as a beginning touchstone of a new wave of “acoustic heavy” that in the last several months alone has found the likes of Mike Scheidt of YOB and Nate Hall of U.S. Christmas releasing similarly-minded solo outings, a clear thread between them being an influence from Kelly’s work on The Wake. In  2011, Kelly toured with Wino (then supporting his acoustic solo debut) and released a split single and earlier 2012 brought the Songs of Townes van Zandt three-way tribute between Kelly, Wino and Von Till, so as The Forgiven Ghost in Me arrives via Neurot with Kelly performing once again alongside NeurosisLandis, as well as Greg Dale under the moniker Scott Kelly and the Road Home, the album has no small task ahead of it in drawing together the Americana and drearily ambient styles in Kelly’s past work. This is unquestionably the album’s greatest success, and that the eight songs/41 minutes are executed with no sacrifice of emotional pull or songwriting acumen only makes the record more impressive. As in Blood and Time, Kelly has once again a fitting partner in Landis (who also recorded The Forgiven Ghost in Me) and throughout these songs, Scott Kelly and the Road Home manage to vary atmospherics while never losing a cohesive mood. The vocals play a large role in establishing the overall scope (Josh Graham does a guest spot late into the record on “The Field that Surrounds Me,” as does Neurosis/Sleep drummer Jason Roeder), but if the opening duo of “A Spirit Redeemed to the Sun” and “The Forgiven Ghost in Me” – the construction of their titles being not the only similarity between them – establish anything, it’s that it’s the songs themselves that are the focus of the album, and nothing else.

Even before it kicks in, one can already hear the organ behind Kelly’s guitar on the open-your-hymnal-and-turn-to-page-three opener “A Spirit Redeemed to the Sun,” on which lyrics like, “I’ve washed the blood from my hands/I’ve forgiven myself in my soul/And I stand before you as nothing and no one/But my hands draw the moths to the flame,” are delivered not with hopped up religious zealotry, but subdued resignation – a sort of restless peace. It’s a folk hymn in the end, with another layer of guitar added, but still a relatively sparse arrangement in terms of what’s actually included – organ, guitar, voice – for how full it sounds. That efficiency is at play across the bulk of The Forgiven Ghost in Me, and when it’s veered from, as on the necessarily busier “The Field that Surrounds Me,” it’s clearly done so on purpose. Most of the songs, though, feature some accompaniment for Kelly at least later in the track, as with the added guitar on “A Spirit Redeemed to the Sun,” and presumably those are the contributions of Dale, though I don’t know that to say for sure. In that regard, however, the title cut, which begins humbly with an intake of breath, joins “The Field that Surrounds Me” as one of the busier inclusions, with early-arriving electric guitar behind the central acoustic figure and – preceded by audible creaks of a chair – a multi-vocal chorus underscored by organ. But for the drums to come later, it’s about as “lively” as The Forgiven Ghost in Me gets, and listening to the rhythm of the acoustic line after that chorus, it’s almost “Stones From the Sky” repurposed. Excellently repurposed, at that, and if Kelly had that in mind when he wrote “The Forgiven Ghost in Me,” he certainly wouldn’t be the first to borrow from that pivotal Neurosis moment. Insistent as that musical hook is by its very nature, here it is patient and in service to a far less bombastic atmosphere – the chorus is more the highlight. “In the Waking Hours” begins with louder guitars and what sounds like tape hum in the background, playing up the organic atmospherics before the electrics come in once again, farther back and played with a slide. The progression isn’t a build, as such, but a definite apex comes later into its 4:28, the last minute or so devoted to a memorable guitar strum.

Read more »

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13 Before ’13 — Albums Not to Miss Before the End of 2012

Posted in Where to Start on July 26th, 2012 by JJ Koczan

We’re more than halfway through 2012, and we’ve already seen great releases from the likes of Orange Goblin, Pallbearer, Conan, C.O.C., Saint Vitus and many others, but there’s still a long way to go. The forecast for the next five months? Busy.

In my eternal and inevitably doomed quest to keep up, I’ve compiled a list of 13 still-to-come releases not to miss before the year ends. Some of this information is confirmed — as confirmed as these things ever are, anyway — either by label or band announcements, and some of it is a little bit vaguer in terms of the actual dates, but all this stuff is slated to be out before 2013 hits. That was basically my only criteria for inclusion.

And of course before I start the list, you should know two things: The ordering is dubious, since it’s not like I can judge the quality of an album before I’ve heard it, just my anticipation, and that this is barely the beginning of everything that will be released before the end of 2012. The tip of the fastly-melting iceberg, as it were. If past is prologue, there’s a ton of shit I don’t even know about that (hopefully) you’ll clue me into in the comments.

Nonetheless, let’s have some fun:

1. Colour Haze, She Said (Sept./Oct.)


I know, I know, this one’s been a really, really long time coming. Like two years. Like so long that Colour Haze had to go back and remake the album because of some terrible technical thing that I don’t even know what happened but it doesn’t matter anymore. Notice came down yesterday from guitarist/vocalist Stefan Koglek that the recording is done and the long-awaited She Said is on the way to be pressed on vinyl and CD. Got my fingers crossed for no more snags.

2. EnslavedRIITIIR (Sept. 28)

The progressive Norwegian black metallers have put out 10 albums before it, and would you believe RIITIIR is the first Enslaved album that’s a palindrome? Kind of cheating to include it on this list, because I’ve heard it, but I’ve been through the record 10-plus times and I still feel like I just barely have a grasp on where they’re headed with it, so I think it’ll be really interesting to see what kind of response it gets upon release. Herbrand Larsen kills it all over these songs though, I will say that.

3. Mos Generator, Nomads (Oct. 23)

Hard for me not to be stoked on the prospect of the first new Mos Generator album since 2007, especially looking at that cover, which Ripple Music unveiled on Tuesday when it announced the Oct. 23 release date. It’s pretty grim looking, and even though Mos once put out a record called The Late Great Planet Earth, I’ve never thought of them as being particularly dark or doomed. I look forward to hearing what Tony Reed (Stone AxeHeavyPink) has up his sleeve for this collection, and if he’s looking to slow down and doom out a bit here, that’s cool too. I’ll take it either way.

4. Ufomammut, Oro – Opus Alter (Sept.)

No, that’s not the cover of Oro – Opus Alter, the second half of Italian space doom grand masters Ufomammut‘s Oro collection — the first being Opus Primum (review here), which served as their Neurot Recordings debut earlier this year. That cover hasn’t been released yet, so I grabbed a promo pic to stand in. I’m really looking forward to this album, though I hope they don’t go the Earth, Angels of Darkness Demons of Light route and wind up with two records that, while really good, essentially serve the same purpose. I’ve got my hopes high they can outdo themselves once again.

5. WitchcraftLegend (Sept. 21)

I guess after their success with Graveyard, Nuclear Blast decided to binge a bit on ’70s loyalist doom, signing Witchcraft and even more recently, Orchid. Can’t fault them that. It’s been half a decade since Witchcraft released The Alchemist and in their absence, doom has caught on in a big way to their methods. With a new lineup around him, will Magnus Pelander continue his divergence into classic progressive rock, or return to the Pentagram-style roots of Witchcraft‘s earliest work? Should be exciting to find out.

6. Wo FatThe Black Code (Nov.)

After having the chance to hear some rough mixes of Texas fuzzers Wo Fat‘s Small Stone debut, The Black Code, I’m all the more stoked to encounter the finished product, and glad to see the band join the ranks of Lo-Pan, Freedom Hawk and Gozu in heralding the next wave of American fuzz. Wo Fat‘s 2011 third outing, Noche del Chupacabra (review here), greatly expanded the jammed feel in their approach, and I get the sense they’re just beginning to find where they want to end up within that balance.

7. Blood of the SunBurning on the Wings of Desire (Late 2012)

As if the glittering logo and booby-lady cover art weren’t enough to grab attention, Blood of the Sun‘s first album for Listenable Records (fourth overall) is sure to garner some extra notice because the band is led by drummer/vocalist Henry Vasquez, better known over the past couple years as the basher for Saint Vitus. Whatever pedigree the band has assumed through that, though, their modern take on classic ’70s heavy has a charm all its own and I can’t wait to hear how Burning on the Wings of Desire pushes that forward. Or backward. Whatever. Rock and roll.

8. SwansThe Seer (Aug. 28)

This one came in the mail last week and I’ve had the chance to make my way through it only once. It’s two discs — and not by a little — and as was the case with Swans‘ 2010 comebacker, My Father Will Guide Me up a Rope to the Sky (review here), the far less cumbersomely titled The Seer is loaded with guest contributions. Even Jarboe shows up this time around, doing that breathy panting thing she does. Unnerving and challenging as ever, Swans continue to be a litmus for how far experimentalism can go. 3o years on, that’s pretty impressive in itself.

9. Swallow the Sun, Emerald Forest and the Blackbird (Sept. 4)

Apparently the Finnish melo-doom collective’s fifth album, Emerald Forest and the Blackbird, came out earlier this year in Europe, but it’s finally getting an American release in September, and as I’ve always dug the band’s blend of death metal and mournful melodicism, I thought I’d include it here. Like Swans, I’ve heard the Swallow the Sun once through, and it seems to play up more of the quiet, weepy side of their sound, but I look forward to getting to know it better over the coming months.

10. My Sleeping Karma, Soma (Oct. 9)

Just signed to Napalm Records and tapped to open for labelmates Monster Magnet as they tour Europe performing Spine of God in its entirety this fall, the German four-piece are set to follow-up 2010’s Tri (review here) with Soma. Details were sketchy, of course, until about five minutes after this post initially went up, then the worldwide release dates, cover art and tracklist were revealed, so I updated. Find all that info on the forum.

11.Eagle Twin, The Feather Tipped the Serpent’s Scale (Aug. 28)

Way back in 2009 when I interviewed Eagle Twin guitarist/vocalist Gentry Densley about the band’s Southern Lord debut, he said the band’s next outing would relate to snakes, and if the cover is anything to go by, that seems to have come to fruition on The Feather Tipped the Serpent’s Scale, which is set to release at the end of next month. As the first album was kind of a mash of influences turned into cohesive and contemplative heavy drone, I can’t help but wonder what’s in store this time around.

12. Hooded MenaceEffigies of Evil (Sept. 11)

You know how sometimes you listen to a band and that band turns you on in their liner notes to a ton of other cool bands? I had that experience with Finnish extreme doomers Hooded Menace‘s 2010 second album, Never Cross the Dead (review here), except instead of bands it was hotties of ’70s horror cinema. Needless to say, I anxiously await the arrival of their third record and Relapse debut, Effigies of Evil. Someone needs to start a label and call it Hammer Productions just to sign this band.

13. Yawning Man, New Album (Soon)

Make no mistake. The prospect of a new Yawning Man album would arrive much higher on this list if I was more convinced it was going to come together in time for a 2012 release. As it is, Scrit on the forum has had a steady stream of updates since May about the record — the latest news being that it’s going to be a double album — and Scrit‘s in the know, so I’ll take his word. One thing we do know for sure is that the band in the picture above is not the current Yawning Man lineup. Alfredo Hernandez and Mario Lalli out, Greg Saenz and Billy Cordell in. Bummer about the tumult, but as long as it’s Gary Arce‘s ethereal guitar noodling, I’m hooked one way or another.

Since we closed with rampant speculation, let me not forget that somewhere out there is the looming specter of a new Neurosis album, which the sooner it gets here, the better. Perhaps also a new Clutch full-length, though I doubt that’ll materialize before 2013. And that’s a different list entirely.

Thanks for reading. Anything I forgot or anything you’d like to add to the list, leave a comment.

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EXCLUSIVE Video and Audio Premiere: Ufomammut’s “Empireum” from Oro – Opus Primum

Posted in Bootleg Theater on March 21st, 2012 by JJ Koczan

Today I have the distinct pleasure and honor to unveil the first full-song audio and accompanying video from Italian space-doom masters Ufomammut‘s Neurot Recordings debut, Oro – Opus Primum. The track, dubbed “Empireum,” is the opener and longest cut of the album and sets the stage for the first of the two massive chapters in the Oro saga with just under 14 minutes of unbridled tension and impossible-seeming build.

As the title suggests, Opus Primum is the first part of the overall work, and likewise, “Empireum” is the first part of the first part, so you have to understand, what you’re hearing over the course of these 14 minutes is the beginning of the beginning. The song has a cycle of its own, and stands on its own as does the whole album, but Ufomammut‘s ambitions — which have developed as much as their sound has progressed over the course of the band’s six prior full-lengths, including 2010’s single-song 44-minute onslaught, Eve (review here) — are bigger with Oro than any single part, or even the whole of Opus Primum can convey.

So as you listen, and as the all-consuming tonal morass of “Empireum” begins to wrap itself around you, please know that it’s just the opening movement of what Ufomammut have in store on Oro – Opus Primum, and that even that is only half the incredible tale they’re telling — the second part of which will be revealed later this year with Oro – Opus Alter.

With this in mind, I humbly submit “Empireum” and the unsettling visuals crafted specifically for it:

Special thanks to the band, to Earsplit PR and to Neurot Recordings for allowing me to host this first premiere. It means more to me than I can say and I consider it a validation of the work I put in on this site. Really. Thank you.

Ufomammut is comprised of guitarist Poia, bassist/vocalist Urlo (also synth) and drummer Vita. Oro – Opus Primum is set for release April 13 on Neurot Recordings, with Oro – Opus Alter to follow later in 2012. For more from Ufomammut, check out their website, find them on Thee Facebooks, or hit up the label’s site here.

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audiObelisk: Nate Hall Premieres “Kathleen” from A Great River Solo Debut

Posted in audiObelisk on March 13th, 2012 by JJ Koczan

Whatever else North Carolinian pastoral psych specialists U.S. Christmas might have going on in their sound at any given time (there’s quite a bit when they want there to be), one thing they’ve always excelled at is infusing Americana elements into their work, taking the environment around them and distilling it to audio. Last year’s The Valley Path did that clearer and more evocatively than they’d ever done it before, and was precise and coherent in its mission.

As such, when A Great River — the Neurot Recordings solo debut from U.S. Christmas guitarist/vocalist Nate Hall — came my way, the first thing I listened for was that unmistakable tinge of mountaintop sepia. It’s not a country twang, but definitively of its place musically and even more specifically Southern in its melancholy. A Great River has that feel in common with Hall‘s band, and joins the ranks of highlight Neurot solo outings from Scott Kelly and Steve Von Till (both Neurosis) in its appreciation of classic folk, from Bob Dylan, whose influence shows up prevalently throughout, to a more stripped-down look at the brilliance of arrangement that has found a home in Wovenhand‘s David Eugene Edwards.

Foremost, the album is honest. Recorded in a single night last March, its “first album” feel is undercut by psychedelic flourish and the emotional depths Hall brings to the surface, and while there are still avenues of progression to be explored, a song like the Townes Van Zandt cover “Kathleen” — which I’m fortunate enough to be able to premiere on the player below — remains the beautiful and lush work of a singer-songwriter beginning what will hopefully be a long journey.

Please enjoy:

Here is the Music Player. You need to installl flash player to show this cool thing!

Nate Hall‘s A Great River is due out on Neurot in May. For more on the album (including Scott Kelly‘s take), check out Neurot‘s artist page here, or look up Hall on Thee Facebooks here. Special thanks to Earsplit PR, Neurot and Hall for their generous permission in letting me host this track.

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Ufomammut Unveil Cover Art and Tracklisting for Oro: Opus Primum

Posted in Whathaveyou on January 31st, 2012 by JJ Koczan

If you heard that girlish squeal a little bit ago, don’t worry, it was just me reacting to the latest PR wire teaser of info about the forthcoming two-part Neurot Recordings debut by Italian space doom progenitors Ufomammut. Oro: Opus Primum is due out April 17. Here’s the latest, including the Malleus (of course) cover art, which you can click to enlarge:

More details on Oro: Opus Primum the first installment of the new two-album series from Italy’s supernatural doom sorcerers, Ufomammut — have this week been confirmed.

Already known for their attention to detail with each release, including meticulous, quality artwork and packaging as expansive and layered as every obliterating Ufomammut release is musically, this time they take it one notch higher and have completed a massive two-part album, set for release months apart.

Now confirmed for release in the UK on April 9th, throughout the rest of Europe on April 13th, and in North America April 17th, this week the artwork and track listing for the incredibly anticipated first installment of the series — Oro: Opus Primum — have been unveiled for the first time:

Oro: Opus Primum Track Listing:
1. Empireum
2. Aureum
3. Infearnatural
4. Magickon
5. Mindomine

More details on the album will be released in the weeks ahead as the world awaits the arrival of Ufomammut’s latest art. The second chapter in this monolithic two-part album, Oro: Opus Alter, will be released sometime in September with more details to be unveiled throughout the months following Opus Primum.

2012 will see Ufomammut expanding their touring circles wider across the face of the planet in support of Oro. Stay tuned throughout the year as more details on the release and the act’s tour schedule are confirmed.

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